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85-467: Uşak city is situated at a distance of 210 km (130 mi) from İzmir , the region's principal metropolitan center and port city. Benefiting from its location at the crossroads of the Central Anatolian plateau and the coastal Aegean Region , and from a climate and agricultural production incorporating elements of both of these zones, Uşak has also traditionally had a strong industrial base. Uşak

170-535: A Central Anatolia Region of Turkey location is a stub . You can help Misplaced Pages by expanding it . Hans Holbein the Younger Hans Holbein the Younger ( UK : / ˈ h ɒ l b aɪ n / HOL -byne , US : / ˈ h oʊ l b aɪ n , ˈ h ɔː l -/ HOHL -byne, HAWL - ; German : Hans Holbein der Jüngere ; c.  1497  – between 7 October and 29 November 1543)

255-505: A 1667 copy by Remigius van Leemput . An earlier half-length portrait shows Henry in a similar pose, but all the full-length portraits of him are copies based on the Whitehall pattern. The figure of Jane Seymour in the mural is related to Holbein's sketch and painting of her. Jane died in October 1537, shortly after bearing Henry's only legitimate son Edward VI . Holbein painted a portrait of

340-551: A combined richness and purity of style." Holbein was born in the free imperial city of Augsburg during the winter of 1497–98. He was a son of the painter and draughtsman Hans Holbein the Elder , whose trade he and his older brother, Ambrosius , followed. Holbein the Elder ran a large and busy workshop in Augsburg, sometimes assisted by his brother Sigmund, also a painter. By 1515, Hans and Ambrosius had moved as journeymen painters to

425-752: A drawing". A gifted draughtsman, he was heir to a German tradition of line drawing and precise preparatory design. Holbein's chalk and ink portraits demonstrate his mastery of outline. He always made preparatory portraits of his sitters, though many drawings survive for which no painted version is known, suggesting that some were drawn for their own sake. Holbein produced relatively few portraits during his years in Basel. Among these were his 1516 studies of Jakob and Dorothea Meyer, sketched, like many of his father's portrait drawings, in silverpoint and chalk. Holbein painted most of his portraits during his two periods in England. In

510-595: A faith in pieties such as pilgrimages, veneration of relics, and prayer for dead souls. Holbein's early work reflects this culture. The growing reform movement, led by humanists such as Erasmus and Thomas More, began, however, to change religious attitudes. Basel, where Martin Luther 's major works were first published, became the main centre for the transmission of Reformation ideas. The gradual shift from traditional to reformed religion can be charted in Holbein's work. His Body of

595-444: A falcon standing on roses, as well as jewellery and books connected to her. He also sketched several women attached to her entourage, including her sister-in-law Jane Parker. At the same time, Holbein worked for Thomas Cromwell as he masterminded Henry VIII's reformation. Cromwell commissioned Holbein to produce reformist and royalist images, including anti-clerical woodcuts and the title page to Myles Coverdale 's English translation of

680-925: A gap no other patron could fill. It was, ironically, Holbein's portrait of Anne of Cleves which largely led to Cromwell's downfall: furious at being saddled with a wife he found entirely unattractive, the King directed all his anger at Cromwell. Granted, Cromwell had exaggerated her beauty, but there is no evidence that Henry blamed Holbein for supposedly flattering Anne's looks. Apart from routine official duties, Holbein now occupied himself with private commissions, turning again to portraits of Steelyard merchants. He also painted some of his finest miniatures, including those of Henry Brandon and Charles Brandon , sons of Henry VIII's friend Charles Brandon, 1st Duke of Suffolk and his fourth wife, Catherine Willoughby . Holbein managed to secure commissions among those courtiers who now jockeyed for power, in particular from Anthony Denny , one of

765-443: A mechanical device to help him trace the contours of his subjects' faces. Holbein paid less attention to facial tones in his later drawings, making fewer and more emphatic strokes, but they are never formulaic. His grasp of spatial relationships ensures that each portrait, however sparely drawn, conveys the sitter's presence. Holbein's painted portraits were closely founded on drawing. Holbein transferred each drawn portrait study to

850-458: A much smaller scale. He designed satirical religious woodcuts in England. His small painting for private devotion, Noli Me Tangere , has been taken as an expression of his personal religion. Depicting the moment when the risen Christ tells Mary Magdalene not to touch him, Holbein adheres to the details of the bible story. The 17th-century diarist John Evelyn wrote that he "never saw so much reverence and kind of heavenly astonishment expressed in

935-641: A picture". Holbein has been described as "the supreme representative of German Reformation art". The Reformation was a varied movement, however, and his position was often ambiguous. Despite his ties with Erasmus and More, he signed up to the revolution begun by Martin Luther , which called for a return to the Bible and the overthrow of the papacy. In his woodcuts Christ as the Light of the World and The Selling of Indulgences , Holbein illustrated attacks by Luther against Rome. At

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1020-486: A range of styles. His portrait of Georg Giese of Gdańsk shows the merchant surrounded by exquisitely painted symbols of his trade. His portrait of Derich Berck of Cologne, on the other hand, is classically simple and possibly influenced by Titian . For the guildhall of the Steelyard, Holbein painted the monumental allegories The Triumph of Wealth and The Triumph of Poverty , both now lost. The merchants also commissioned

1105-511: A rare precision. His portraits were renowned in their time for their likeness, and it is through his eyes that many famous figures of his day are pictured today, such as Erasmus and More . He was never content with outward appearance, however; he embedded layers of symbolism, allusion, and paradox in his art, to the lasting fascination of scholars. In the view of art historian Ellis Waterhouse , his portraiture "remains unsurpassed for sureness and economy of statement, penetration into character, and

1190-479: A register compiled to ensure that all major citizens subscribed to the new doctrines: "Master Hans Holbein, the painter, says that we must be better informed about the [holy] table before approaching it". In 1530, the authorities called Holbein to account for failing to attend the reformed communion. Shortly afterwards, however, he was listed among those "who have no serious objections and wish to go along with other Christians". Holbein evidently retained favour under

1275-521: A religious artist and his gifts as a portraitist to his son. The young Holbein learned his craft in his father's workshop in Augsburg , a city with a thriving book trade, where woodcut and engraving flourished. Augsburg also acted as one of the chief "ports of entry" into Germany for the ideas of the Italian Renaissance . By the time Holbein began his apprenticeship under Hans Herbster in Basel, he

1360-487: A series of commissions. "Your painter, my dearest Erasmus," he wrote, "is a wonderful artist". Holbein painted the famous Portrait of Sir Thomas More and another of More with his family. The group portrait, original in conception, is known only from a preparatory sketch and copies by other hands. According to art historian Andreas Beyer, it "offered a prelude of a genre that would only truly gain acceptance in Dutch painting of

1445-513: A son of his own, Philipp, in their first year of marriage a girl called Katharina in 1526 and two more children, Jacob and Küngold in later years. Holbein was prolific during this period in Basel, which coincided with the arrival of Lutheranism in the city. He undertook a number of major projects, such as external murals for The House of the Dance and internal murals for the Council Chamber of

1530-416: A street tableau of Mount Parnassus for Anne Boleyn's coronation eve procession of 31 May 1533. Holbein also portrayed various courtiers, landowners, and visitors during this time, and his most famous painting of the period was The Ambassadors . This life-sized panel portrays Jean de Dinteville , an ambassador of Francis I of France in 1533, and Georges de Selve , Bishop of Lavaur who visited London

1615-436: A third in advance. He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence. Enriched by his success in England, Holbein bought a second neighboring house in 1531 for which he initially advanced only a seventh of the price and was to pay a yearly rate during the following six years. During this period in Basel, he painted The Artist's Family , showing Elsbeth with

1700-456: A tutor of the More family whose notes appear on Holbein's sketch for their group portrait. Although Holbein did not work for the king during this visit, he painted the portraits of courtiers such as Sir Henry Guildford and his wife Lady Mary, and of Anne Lovell, identified in 2003 or 2004 as the subject of Lady with a Squirrel and a Starling . In May 1527, "Master Hans" also painted a panorama of

1785-664: A very slight border with the Marmara region in Bilecik Province . Geographic subdivisions of the Central Anatolia region include: Palearctic regions include: Temperate broadleaf and mixed forests include: Temperate coniferous forests are Northern Anatolian conifer and deciduous forests . Central Anatolian steppe are classified as Temperate grasslands, savannas and shrublands . Mediterranean forests, woodlands, and scrub include: Provinces that are entirely in

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1870-687: Is a geographical region of Turkey . The largest city in the region is Ankara , the capital of Turkey . Other big cities are Konya , Kayseri , Eskişehir , Sivas , Aksaray and Kırşehir . Located in Central Turkey, it is bordered by the Aegean region to the west, the Black Sea region to the north, the Eastern Anatolia region to the east, and the Mediterranean region to the south. It also shares

1955-517: Is considered an English word of Turkic origin . Although Uşak's carpet patterns have evolved since then, large-scale weaving still continues and the name of the city still has an important presence in the market for carpets, both hand-woven and industrial. On the other hand, the district of Eşme , which is also in Uşak Province , is famous for its kilims . Central Anatolia The Central Anatolia region ( Turkish : İç Anadolu Bölgesi )

2040-555: Is displayed at the Staatsgalerie in Augsburg. In 1517, father and son began a project in Lucerne (Luzern), painting internal and external murals for the merchant Jakob von Hertenstein. While in Lucerne, Holbein also designed cartoons for stained glass . The city's records show that on 10 December 1517, he was fined five livres for fighting in the street with a goldsmith called Caspar, who

2125-600: Is the largest and is notable for its varied agricultural production as well as for its forests, while Ulubey 's canyon is a natural site attracting many visitors. The city of Uşak consists of 29 neighbourhoods, including Kurşunluk and Muharremşah . Uşak has a Mediterranean ( Köppen : Csa ) or an oceanic climate ( Trewartha : Doak ), with cool, wet, regularly snowy winters and hot, dry summers. Highest recorded temperature:41.9 °C (107.4 °F) on 18 August 2023 Lowest recorded temperature:−19.9 °C (−3.8 °F) on 5 January 1942 In pre-industrial times, Uşak

2210-694: The Late Gothic school. Holbein was born in Augsburg but worked mainly in Basel as a young artist. At first, he painted murals and religious works, and designed stained glass windows and illustrations for books from the printer Johann Froben . He also painted an occasional portrait, making his international mark with portraits of humanist Desiderius Erasmus of Rotterdam . When the Reformation reached Basel, Holbein worked for reformist clients while continuing to serve traditional religious patrons. His Late Gothic style

2295-509: The Town Hall . The former are known from preparatory drawings. The Council Chamber murals survive in a few poorly preserved fragments. Holbein also produced a series of religious paintings and designed cartoons for stained glass windows. In a period of a revolution in book design, he illustrated for the publisher Johann Froben . His woodcut designs included those for the Dance of Death , cut by

2380-568: The formschneider Hans Lützelburger the Icones (illustrations of the Old Testament ), and the title page of Martin Luther 's bible . Additionally he designed twelve alphabets , of those a Greek and Latin for Froben. The letters were ornamented with depictions of Greek and Roman gods, heads of Caesars , poets and philosophers. Through the woodcut medium, Holbein refined his grasp of expressive and spatial effects. Holbein also painted

2465-580: The 17th century there was trade between Uşak and the Dutch republic as reflected in the rug shown thrown over the bannister in Vermeer's painting "The Procuress." The rug was probably produced in Uşak, covers a third of the painting and shows medallions and leaves . In the early 20th century, mercury was discovered in Uşak. The town also manufactured carpet . Among other district centers in Uşak Province, Banaz

2550-491: The Basel authorities paid him six months' salary in advance. The state of Holbein's marriage has intrigued scholars, who base their speculations on fragmentary evidence. Apart from one brief visit, Holbein had lived apart from Elsbeth since 1532. His will reveals that he had two infant children in England, of whom nothing is known except that they were in the care of a nurse. Holbein's unfaithfulness to Elsbeth may not have been new. Some scholars believe that Magdalena Offenburg,

2635-521: The Bible. Henry VIII had embarked on a grandiose programme of artistic patronage. His efforts to glorify his new status as Supreme Head of the Church culminated in the building of Nonsuch Palace , which started in 1538. By 1536, Holbein was employed as the King's Painter on an annual salary of 30 pounds—though he was never the highest-paid artist on the royal payroll. Royal "pictor maker" Lucas Horenbout earned more, and other continental artists also worked for

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2720-457: The Central Anatolia region: Provinces that are mostly in the Central Anatolia region: Provinces that are partially in the Central Anatolia region: Central Anatolia has a semi-arid continental climate with hot, dry summers and cold, snowy winters. Most of the region usually has low precipitation throughout the year. 39°00′N 33°00′E  /  39.000°N 33.000°E  / 39.000; 33.000 This article about

2805-578: The Dead Christ in the Tomb of 1522 expresses a humanist view of Christ in tune with the reformist climate in Basel at the time. The Dance of Death (1523–26) refashions the late-medieval allegory of the Danse Macabre as a reformist satire. Holbein's series of woodcuts shows the figure of "Death" in many disguises, confronting individuals from all walks of life. None escape Death's skeleton clutches, even

2890-559: The Italians, Holbein learned the art of single-point perspective and the use of antique motifs and architectural forms. In this, he may have been influenced by Andrea Mantegna . The decorative detail recedes in his late portraits, though the calculated precision remains. Despite assimilating Italian techniques and Reformation theology, Holbein's art in many ways extended the Gothic tradition. His portrait style, for example, remained distinct from

2975-826: The New Law Archived 25 January 2018 at the Wayback Machine identified the Old Testament with the "Old Religion". Scholars have detected subtler religious references in his portraits. In The Ambassadors , for example, details such as the Lutheran hymn book and the crucifix behind the curtain allude to the context of the French mission. Holbein painted few religious images in the later part of his career. He focused on secular designs for decorative objects, and on portraits stripped of inessentials. For Holbein, "everything began with

3060-552: The blame for the king's disillusionment fell on Thomas Cromwell, who had been instrumental in arranging the marriage and had passed on some exaggerated claims of Anne's beauty. This was one of the factors that led to Cromwell's downfall. Holbein had deftly survived the downfall of his first two great patrons, Thomas More and Anne Boleyn , but Cromwell's sudden arrest and execution on trumped-up charges of heresy and treason in 1540 undoubtedly damaged his career. Though Holbein retained his position as King's Painter, Cromwell's death left

3145-538: The care of his two children, and sold and dispersed his effects, including many designs and preliminary drawings that have survived. The site of Holbein's grave is unknown and may never have been marked. The churches of St Katherine Cree or St Andrew Undershaft in London are possible locations, being located near his house. The first influence on Holbein was his father, Hans Holbein the Elder , an accomplished religious artist and portraitist who passed on his techniques as

3230-542: The city of Basel , a centre of learning and the printing trade. There they were apprenticed to Hans Herbster, Basel's leading painter. The brothers found work in Basel as designers of woodcuts and metalcuts for printers. In 1515, the preacher and theologian Oswald Myconius invited them to add pen drawings to the margin of a copy of The Praise of Folly by the humanist scholar Desiderius Erasmus of Rotterdam . The sketches provide early evidence of Holbein's wit and humanistic leaning. His other early works, including

3315-580: The couple's two eldest children, Philipp and Katherina, evoking images of the Virgin and Child with St John the Baptist . Art historian John Rowlands sees this work as "one of the most moving portraits in art, from an artist, too, who always characterized his sitters with a guarded restraint". Basel had become a turbulent city in Holbein's absence. Reformers, swayed by the ideas of Zwingli , carried out acts of iconoclasm and banned imagery in churches. In April 1529,

3400-451: The double portrait of Basel's mayor Jakob Meyer zum Hasen and his wife Dorothea , follow his father's style. With Meyer zum Hasen, Holbein maintained a close working relationship until the latter was sacked in 1521. The young Holbein, alongside his brother and his father, is pictured in the left-hand panel of Holbein the Elder's 1504 altar piece triptych the Basilica of St. Paul , which

3485-741: The effigies of my Lady Anne and the lady Amelia [Anne's sister] and hath expressed their images very lively". Henry was disillusioned with Anne in the flesh, however, and he divorced her after a brief, unconsummated marriage. There is a tradition that Holbein's portrait flattered Anne, derived from the testimony of Sir Anthony Browne . Henry said that he was dismayed by her appearance at Rochester, having seen her pictures and heard advertisements of her beauty—so much that his face fell. No one other than Henry ever described Anne as repugnant; French Ambassador Charles de Marillac thought her quite attractive, pleasant, and dignified, though dressed in unflattering, heavy German clothing, as were her attendants. Some of

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3570-606: The existence of the other work of Holbein & De Villeneuve , Biblia cum Glossis or " Lost Bible". Holbein painted many large religious works between 1520 and 1526, including the Oberried Altarpiece , the Solothurn Madonna , and the Passion . Only when Basel's reformers turned to iconoclasm in the later 1520s did his freedom and income as a religious artist suffer. Holbein continued to produce religious art, but on

3655-450: The first four figures with the Dance of Death . It appears that the Trechsel brothers initially intended to hire Holbein for illustrating Bibles. In fact, some of Holbein's Icones woodcuts appear in the recently discovered Biblia cum Glossis by Michel De Villeneuve ( Michael Servetus ). Holbein woodcuts appear in several other works by Servetus: his Spanish translation of The images of

3740-449: The first, between 1526 and 1528, he used the technique of Jean Clouet for his preliminary studies, combining black and coloured chalks on unprimed paper. In the second, from 1532 to his death, he drew on smaller sheets of pink-primed paper, adding pen and brushwork in ink to the chalk. Judging by the three-hour sitting given to him by Christina of Denmark, Holbein could produce such portrait studies quickly. Some scholars believe that he used

3825-506: The free-thinking Erasmus felt obliged to leave his former haven for Freiburg im Breisgau . The iconoclasts probably destroyed some of Holbein's religious artwork, though the paintings on the organ doors of the Basel Minster were saved. Evidence for Holbein's religious views is fragmentary and inconclusive. "The religious side of his paintings had always been ambiguous," suggests art historian John North, "and so it remained". According to

3910-414: The grandeur of Death". No certain painted portraits survive of Anne Boleyn by Holbein, perhaps because her memory was purged following her execution for treason, incest, and adultery in 1536, although there is a drawing, as made from life by Holbein preparatory to painting a portrait. It is clear, however, that Holbein worked directly for Anne and her circle. He designed a cup engraved with her device of

3995-435: The great Renaissance scholar Erasmus, who required likenesses to send to his friends and admirers throughout Europe. These paintings made Holbein an international artist. Holbein visited France in 1524, probably to seek work at the court of Francis I . When Holbein decided to seek employment in England in 1526, Erasmus recommended him to his friend the statesman and scholar Thomas More . "The arts are freezing in this part of

4080-648: The infant prince about two years later, clutching a sceptre-like gold rattle. Holbein's final portrait of Henry dates from 1543 and was perhaps completed by others, depicting the king with a group of barber surgeons. Holbein's portrait style altered after he entered Henry's service. He focused more intensely on the sitter's face and clothing, largely omitting props and three-dimensional settings. He applied this clean, craftsman-like technique to miniature portraits such as that of Jane Small , and to grand portraits such as that of Christina of Denmark . He travelled with Philip Hoby to Brussels in 1538 and sketched Christina for

4165-495: The king's majesty", Holbein made his will on 7 October at his home in Aldgate . The goldsmith John of Antwerp and a few German neighbours signed as witnesses. Holbein may have been in a hurry, because the will was not witnessed by a lawyer. On 29 November, John of Antwerp, the subject of several of Holbein's portraits, legally undertook the administration of the artist's last wishes. He presumably settled Holbein's debts, arranged for

4250-722: The king, who was appraising the young widow as a prospective bride. John Hutton, the English ambassador in Brussels, reported that another artist's drawing of Christina was "sloberid" (slobbered) compared to Holbein's. In Wilson's view, Holbein's subsequent oil portrait is "the loveliest painting of a woman that he ever executed, which is to say that it is one of the finest female portraits ever painted". The same year, Holbein and Hoby went to France to paint Louise of Guise and Anna of Lorraine for Henry VIII. Neither portrait of these cousins has survived. Holbein found time to visit Basel, where he

4335-423: The king. In 1537, Holbein painted his most famous image: Henry VIII standing in a heroic pose with his feet planted apart. The left section has survived of Holbein's cartoon for a life-sized wall painting at Whitehall Palace showing the king in this pose with his father behind him. The mural also depicted Jane Seymour and Elizabeth of York . It was destroyed by fire in 1698, but is known from engravings and from

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4420-475: The last mortuary rolls created. Holbein seems to have distanced himself from More's humanist milieu on this visit, and "he deceived those to whom he was recommended", according to Erasmus. The artist found favour instead within the radical new power circles of the Boleyn family and Thomas Cromwell . Cromwell became the king's secretary in 1534, controlling all aspects of government, including artistic propaganda. More

4505-473: The model for the Darmstadt Madonna and for two portraits painted in Basel, was for a time Holbein's mistress. Others dismiss the idea. One of the portraits was of Lais of Corinth , mistress of Apelles , the famous artist of Greek antiquity after whom Holbein was named in humanist circles. Whatever the case, it is likely that Holbein always supported his wife and children. When Elsbeth died in 1549, she

4590-531: The more sensuous technique of Titian , and from the Mannerism of William Scrots , Holbein's successor as King's Painter. Holbein's portraiture, particularly his drawings, had more in common with that of Jean Clouet , which he may have seen during his visit to France in 1524. He adopted Clouet's method of drawing with coloured chalks on a plain ground, as well as his care over preliminary portraits for their own sake. During his second stay in England, Holbein learned

4675-434: The new order. The reformist council paid him a retaining fee of 50 florins and commissioned him to resume work on the Council Chamber frescoes. They now chose themes from the Old Testament instead of the previous stories from classical history and allegory. Holbein's frescoes of Rehoboam and of the meeting between Saul and Samuel were more simply designed than their predecessors. Holbein worked for traditional clients at

4760-515: The occasional portrait in Basel, among them the double portrait of Jakob and Dorothea Meyer , and, in 1519, that of the young academic Bonifacius Amerbach . According to art historian Paul Ganz, the portrait of Amerbach marks an advance in his style, notably in the use of unbroken colours. For Meyer, he painted an altarpiece of the Madonna which included portraits of the donor , his wife, and his daughter. In 1523, Holbein painted his first portraits of

4845-404: The panel with the aid of geometrical instruments. He then built up the painted surface in tempera and oil, recording the tiniest detail, down to each stitch or fastening of costume. In the view of art historian Paul Ganz, "The deep glaze and the enamel-like lustre of the colouring were achieved by means of the metallic, highly polished crayon groundwork, which admitted of few corrections and, like

4930-459: The patronage of Anne Boleyn and Thomas Cromwell . By 1535, he was King's Painter to Henry VIII of England . In this role, he produced portraits and festive decorations, as well as designs for jewellery, plate, and other precious objects. His portraits of the royal family and nobles are a record of the court in the years when Henry was asserting his supremacy over the Church of England . Holbein's art

5015-543: The pious. In addition to the Dance of Death Holbein completed Icones or Series of the Old Gospel (It contains two works: The images of the stories of the Old Gospel and Portraits or printing boards of the story of the Old Gospel ). These works were arranged by Holbein with Melchior & Gaspar Trechsel in about 1526, later printed and edited in Latin by Jean & Francois Frellon with 92 woodcuts. These two works also share

5100-533: The preliminary sketch, remained visible through the thin layer of colour". The result is a brilliant portrait style in which the sitters appear, in Foister's words, as "recognisably individual and even contemporary-seeming" people, dressed in minutely rendered clothing that provides an unsurpassed source for the history of Tudor costume. Holbein's humanist clients valued individuality highly. According to Strong, his portrait subjects underwent "a new experience, one which

5185-400: The record at about this time, and it is usually presumed that he died. Holbein re-established himself rapidly in the city, running a busy workshop. He joined the painters' guild and took out Basel citizenship. He married Elsbeth Binsenstock-Schmid 1519, a widow a few years older than he was, who had an infant son, Franz, and was running her late husband's tanning business. She bore Holbein

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5270-588: The region of present-day Uşak were the Phrygians in the eastern portion and the Lydians in the west during the seventh century BC. The Karun Treasure , discovered by clandestine treasure hunters in Uşak in 1965, and whose smuggling outside Turkey and subsequent retrieval decades later from New York City's Metropolitan Museum of Art made international headlines, gives an indication of the high degree of civilization attained by these Anatolian states. The region of Lydia

5355-462: The same time, he continued to work for Erasmians and known traditionalists. After his return from England to a reformed Basel in 1528, he resumed work both on Jakob Meyer's Madonna and on the murals for the Council Chamber of the Town Hall. The Madonna was an icon of traditional piety, while the Old Testament murals illustrated a reformist agenda. Holbein returned to England in 1532 as Thomas Cromwell

5440-420: The same time. His old patron Jakob Meyer paid him to add figures and details to the family altarpiece he had painted in 1526. Holbein's last commission in this period was the decoration of two clock faces on the city gate in 1531. The reduced levels of patronage in Basel may have prompted his decision to return to England early in 1532. Holbein returned to England, where the political and religious environment

5525-528: The same year. The work incorporates symbols and paradoxes, including an anamorphic (distorted) skull. According to scholars, these are enigmatic references to learning, religion, mortality, and illusion in the tradition of the Northern Renaissance . Art historians Oskar Bätschmann and Pascal Griener suggest that in The Ambassadors , "Sciences and arts, objects of luxury and glory, are measured against

5610-460: The seventeenth century". Seven fine-related studies of More family members also survive. During this first stay in England, Holbein worked largely for a humanist circle with ties to Erasmus. Among his commissions was the portrait of William Warham , Archbishop of Canterbury , who owned a Holbein portrait of Erasmus. Holbein also painted the Bavarian astronomer and mathematician Nicholas Kratzer ,

5695-481: The siege of Thérouanne for the visit of French ambassadors. With Kratzer, he devised a ceiling covered in planetary signs, under which the visitors dined. The chronicler Edward Hall described the spectacle as showing "the whole Earth, environed with the sea, like a very map or cart". In August 1528, Holbein bought a house in Basel in St.Johanns-Vorstadt and became the neighbor of Hieronymus Froben . For this house he paid

5780-663: The stories of the Old Gospel , printed by Juan Stelsio in Antwerp in 1540 (92 woodcuts), and also of his Spanish versification of the associated work Portraits or printing boards of the story of the Old Gospel , printed by Francois and Jean Frellon in 1542 (same 92 woodcuts plus 2 more), as it was demonstrated in the International Society for the History of Medicine , by the expert researcher in Servetus, González Echeverría, who also proved

5865-444: The technique of limning , as practised by Lucas Horenbout . In his last years, he raised the art of the portrait miniature to its first peak of brilliance. Holbein followed in the footsteps of Augsburg artists like his father and Hans Burgkmair , who largely made their living from religious commissions. Despite calls for reform, the church in the late 15th century was medieval in tradition. It maintained an allegiance to Rome and

5950-655: The two chief gentlemen of the bedchamber. He became close enough to Denny to borrow money from him. He painted Denny's portrait in 1541 and two years later designed a clock-salt for him. Denny was part of a circle that gained influence in 1542 after the failure of Henry's marriage to Catherine Howard . The king's marriage in July 1543 to the reformist Catherine Parr , whose brother Holbein had painted in 1541, established Denny's party in power. Holbein may have visited his wife and children in late 1540, when his leave of absence from Basel expired. None of his work dates from this period, and

6035-505: The world," he wrote, "and he is on the way to England to pick up some angels". Holbein broke his journey towards Antwerp , where he delivered a recommendation from Erasmus to Pieter Gillis . In Antwerp, he also bought some oak panels and may have met the painter Quentin Matsys . Gillis then seemed to have sent Holbein to the Court of England, where Sir Thomas More welcomed him to and found him

6120-415: Was a German-Swiss painter and printmaker who worked in a Northern Renaissance style, and is considered one of the greatest portraitists of the 16th century. He also produced religious art, satire, and Reformation propaganda, and he made a significant contribution to the history of book design. He is called "the Younger" to distinguish him from his father Hans Holbein the Elder , an accomplished painter of

6205-581: Was about to transform religious institutions there. He was soon at work for Cromwell's propaganda machine, creating images in support of the royal supremacy and (in the case of An Allegory of the Old and New Testaments ) Lutheranism . During the period of the Dissolution of the Monasteries , he produced a series of small woodcuts in which biblical villains were dressed as monks. His reformist painting The Old and

6290-453: Was already a major center of production and export, particularly of Ushak carpets . Ushak carpets are also called Holbein carpets in reference to the 16th century painter Hans Holbein the Younger who depicted them in minute detail in his paintings, reflecting their popularity in European markets. The level of international popularity attained by Uşak's carpets became such that the word "Ushak"

6375-502: Was already steeped in the late Gothic style, with its unsparing realism and emphasis on line, which influenced him throughout his life. In Basel, he was favoured by humanist patrons, whose ideas helped form his vision as a mature artist. During his Swiss years, when he may have visited Italy, Holbein added an Italian element to his stylistic vocabulary. Scholars note the influence of Leonardo da Vinci 's " sfumato " (smoky) technique on his work, for example in his Lais of Corinth . From

6460-455: Was changing radically. In 1532, Henry VIII was preparing to repudiate Catherine of Aragon and marry Anne Boleyn , in defiance of the pope. Among those who opposed Henry's actions was Holbein's former host and patron Sir Thomas More, who resigned as Lord Chancellor in May 1532. Around this time, Holbein is supposed to have decorated the mortuary roll of John Islip , abbot of Westminster , one of

6545-544: Was enriched by artistic trends in Italy, France, and the Netherlands, as well as by Renaissance humanism . The result was a combined aesthetic uniquely his own. Holbein travelled to England in 1526 in search of work with a recommendation from Erasmus. He was welcomed into the humanist circle of Thomas More , where he quickly built a high reputation. He returned to Basel for four years, then resumed his career in England in 1532 under

6630-660: Was executed in 1535 along with John Fisher , whose portrait Holbein had also drawn. Holbein's commissions in the early stages of his second English period included portraits of Lutheran merchants of the Hanseatic League . The merchants lived and plied their trade at the Steelyard , a complex of warehouses, offices, and dwellings on the north bank of the Thames. Holbein rented a house in Maiden Lane nearby, and he portrayed his clients in

6715-450: Was fined the same amount. That winter, Holbein probably visited northern Italy, though no record of the trip survives. Many scholars believe he studied the work of Italian masters of fresco , such as Andrea Mantegna , before returning to Lucerne. He filled two series of panels at Hertenstein's house with copies of works by Andrea Mantegna , including The Triumphs of Caesar . In 1519, Holbein moved back to Basel. His brother fades from

6800-491: Was fêted by the authorities and granted a pension. On the way back to England, he apprenticed his son Philipp to Basel-born goldsmith Jacob David in Paris. Holbein painted Anne of Cleves at Burgau Castle , posing her square-on and in elaborate finery. This was the woman whom Henry married at Düren at the encouragement of Thomas Cromwell in the summer of 1539. English envoy Nicholas Wotton reported that "Hans Holbein hath taken

6885-848: Was later taken over by the Persian Empire in the 6th century BC and by Alexander the Great and his successors as of the 4th century. Thereafter, Uşak was ruled successively by the Roman Empire , the Byzantine Empire , the Seljuks , the Germiyanids and finally the Ottoman Empire (as of 1429). Later, following Turkish conquest and domination over the area, the city became known by its Turkish name of Uşak ; which means "servant." From 1867 until 1922, Uşak

6970-584: Was part of Hüdavendigâr vilayet . Uşak was occupied by the Greek Army between 28 August 1920 and 1 September 1922. During the Greek retreat, Greek general Nikolaos Trikoupis was captured near Uşak at the village of Göğem, today buried under a dam reservoir . Uşak was a district center within Kütahya Province until 1953, when Uşak Province was constituted and Uşak became its provincial capital. At least since

7055-669: Was prized from early in his career. French poet and reformer Nicholas Bourbon (the elder) dubbed him "the Apelles of our time", a typical accolade at the time. Holbein has also been described as a great "one-off" in art history since he founded no school. Some of his work was lost after his death, but much was collected and he was recognized among the great portrait masters by the 19th century. Recent exhibitions have also highlighted his versatility. He created designs ranging from intricate jewellery to monumental frescoes. Holbein's art has sometimes been called realist, since he drew and painted with

7140-603: Was the first city in Turkey to have an urban electricity network, and the first city where a collective labor relations agreement was signed, during the Ottoman era, between leather industry employees and workers. It was here that the first factory of Republican Turkey , a sugar refinery , was set up through a private sector initiative among local businessmen. The tradition of industriousness continues today around two industrial zones . The first known organized states to have ruled over

7225-466: Was well off and still owned many of Holbein's fine clothes; on the other hand, she had sold his portrait of her before his death. Hans Holbein died between 7 October and 29 November 1543 at the age of 45. Karel van Mander stated in the early 17th century that he died of the plague. Wilson regards the story with caution since Holbein's friends attended his bedside; and Peter Claussen suggests that he died of an infection. Describing himself as "servant to

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